The yellow book, an illustrated quarterly. Vol. 2, July 1894
General
The yellow book, an illustrated quarterly. Vol. 2, July 1894
English literature -- 19th century -- Periodicals; Great Britain -- Periodicals; Literature, Modern -- 19th century -- Periodicals
art is, not to explain or to describe, but to suggest. That attitude
of objectivity, or of impersonality towards his subject, consciously
or unconsciously, assumed by the artist, and which nowadays provokes
so considerable an admiration, can be attained only in a limited
degree. Every piece of imaginative work must be a kind of
autobiography of its creator--significant, if not of the actual facts
of his existence, at least of the inner working of his soul. We are
each of us conscious, not of the whole world, but of our own world;
not of naked reality, but of that aspect of reality which our peculiar
temperament enables us to appropriate. Thus, every narrative of an
external circumstance is never anything else than the transcript of
the impression produced upon ourselves by that circumstance, and,
invariably, a degree of individual interpretation is insinuated into
every picture, real or imaginary, however objective it may be. So
then, the disparity between the so-called idealist and the so-called
realist is a matter, not of æsthetic philosophy, but of individual
temperament. Each is at work, according to the especial bent of his
genius, within precisely the same limits. Realism, as a creed, is as
ridiculous as any other literary creed.
Now, it would have been exceedingly curious if this recent
specialisation of the art of fiction, this passion for draining from
the life, as it were, born, in due season, of the general spirit of
the latter half of the nineteenth century, had not provoked a
considerable amount of opposition--opposition of just that kind which
every new evolution in art inevitably encounters. Between the vanguard
and the main body there is perpetual friction.
But time flits quickly in this hurried age of ours, and the opposition
to the renascence of fiction as a conscientious interpretation of life
is not what it was; its opponents are not the men they were. It is not
so long since a publisher was sent to prison for issuing English
translations of celebrated specimens of French realism; yet, only the
other day, we vied with each other in doing honour to the chief
figure-head of that tendency across the Channel, and there was heard
but the belated protest of a few worthy individuals, inadequately
equipped with the jaunty courage of ignorance, or the insufferable
confidence of second-hand knowledge.
Public-domain text, read in full here on John Shaqi.
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